Tag Archives: soul

Review: Pheeyownah, zero9zero9 EP

Pheeyownah, zero9zero9 EP (Labrador, 6/10/16)

Great new soul/r&b/pop from Pheeyownah, a Stockholm, Sweden-based singer and multi-instrumentalist.

She’s also an artist and dancer, and movement, atmosphere and expression is everywhere in evidence on her new ep, zero9zero9.  Synthesized melodies swirl and sway betwixt and between multi-tracked vocals and churning rhythms in a manner similar, in style and tone, to Fade to Mind crew standout Kelela and other modern soul artists like Sza.  Where those artists have a foot in both psychotropic “modern r&b” stylings and 80s/90s throwback rhythms (Janet Jackson, vocally, often seems a particular influence), Pheeyownah also folds in trip hop’s hypnotic, liquid soul and rhythmic ominousness – early Bjork (highlight “Mountain Peak, Sea Deep”, in particular, seems unearthed from a Nellie Hooper vault), bands like Massive Attack, GusGus and Lamb cast long shadows.

Be not afeared – this is a good thing.  Senses are worked overtime across the ep’s four tracks, while there’s even a hint of a dancefloor banger unfurling in the insistent closer, “Cold Black Deserts”.  Three of these tracks look to have been self-released previously on the Under the Dock ep, but have now been repackaged by fantastic Swedish label Labrador; hopefully, they’ll reach a wider audience.

zero9zero9 is out now.  Check out more about Pheeyownah on fbook and her site.  You can also find her prior, self-relead eps, on iTunes (“Pretty Lights”, from 2012’s City ep, is well worth a listen for a glimpse of a lighter side to her musical persona).

New Music: Jamila Woods, Heavn

Jamila Woods “Heavn” (Closed Sessions)

Jamila Woods is a Chicago-based poet, educator, playwright, and community activist.  As if that weren’t enough, she’s also a singer possessed of an airy, languid voice that is the centerpiece of a fantastic new track, called “Heavn”.

Woods enters cooing modified lyrics from The Cure’s “Just Like Heaven”, calling for a “trick” that “makes you love someone”; that “makes the winters warm”.  The response is a paean to the joy of lasting love, free of (and in the face of) societal constructs and restrictions.  Taking a hand, Woods leads a dynastic journey to a past where “great-great-great-great-great-great” grandparents “didn’t need a ring or a broom” to make their love eternal, the refrain “I don’t want to run away with you/I want to live our life right, here” providing comfort.

The track is a welcome throwback to the early days of the so-called ‘neo-soul’ movement, at the intersection of spoken word and hip hop.  “Heavn” glides along a looped, propulsive tribe vibe instrumental sampled from The Roots’ Dilla Joints cut, “Eve”, the mix reminding me of personal favorites like Ambersunshower, touching down via a prolonged outro.  Transportive.

“Heavn” looks to be the title track of Wood’s forthcoming, debut record on Closed Sessions.  Can’t wait to hear more of this.  You can do the following thing on fbook, her site, and SoundCloud.

New Track: Thundercat, Them Changes

Thundercat, “Them Changes” (Brainfeeder)

The insanely talented Thundercat returns, with an assist from FlyLo, on this bittersweet-flavored funk/soul/space/jazz ear candy.

Coils of rubber banded bass try to tell you something good over a beat that tiptoes in the dark.  A smooth piano overlay matches wits with Thundercat’s sweet tenor and falsetto musings; a true detective arriving at the scene of his own love crime (“nobody move, there’s blood on the floor/and i can’t find my heart”… “it must have fell/when I lost my mind”).  At the 1:20 mark, a transcendent, spacey free jazz odyssey that would be unexpected for anyone but TC.  Love never hurt so good.

This jam…is…

“Them Changes” is taken from a new mini-album, The Beyond/Where Giants Roam, due out Monday on Brainfeeder.  Check out the track on the Brainfeeder Soundcloud page and, if you haven’t already, do yourself and favor and check out Thundercat’s earlier releases.

Review: Nao, February 15 ep

Nao, February 15 ep (Little Tokyo Recordings, 05/01/2015)

Sophomore release from the London-based singer/writer/producer, released on her own Little Tokyo Recordings label.

Nao is another in a line of new artists putting modern production touches over largely 80s-indebted r&b workouts.  Her voice, much like AlunaGeorge’s Aluna Francis, inhabits a perky, helium-fueled upper register – yes, there will be pitch shifting, but it doesn’t get too distracting.  While not a thundering, break the glass diva á la Mary J. or a soft, come hither crooner like Sade, her voice slinks in, around, and through a groove, still commanding attention through weight of charisma.

The arrangements here walk a fine line between the poppier, hook-laden dance music of AG and Disclosure and the more esoteric, narcotic r&b of artists like Kelela, SZA and Jessy Lanza.  There’s lots going on in these tracks including, notable to these two ears, the use of “natural” instrumentation in the mix (check the Sade-meets-Rick James bass line in “Golden”); more recently, the province of neo-soul revivalists. Each song clocks in at a very radio friendly run time, but there are open spaces throughout which leave room for interpretation – whether live or via remix – that make them more than merely ear candy.

Highlights include the transmogrified Zapp/Roger electrofunk (complete with what sounds like electric cowbell!) of “Inside/Outside” and the psychedelic soul of Prince-infused “Apple Cherry” (the name alone…).  For my money, though, the gold to mine from this particular vein is found in lighter tracks, including lovely ballad “It’s You” and, er, “Golden”.

The February 15 ep is available now on iTunes, and gets a vinyl release July 6, courtesy of Dummy Records.

Check out Nao on Facebook, her site and Soundcloud.

New Music: THEESatisfaction, Recognition

THEESatisfaction “Recognition” (Sub Pop)

Seattle-based spacefunk/funk’nroll duo THEESatisfaction released their debut album “awE naturalE” on local Sub Pop records in 2012 – it’s a good’un, so check it out if you haven’t already (I’ll wait…).  Now, a new track – ‘Recognition’ – is currently making the rounds as the first taster from forthcoming sophomore effort, “EarthEE” (to be released in February, also on SubPop), featuring vocal contributions from long-time collaborators and fellow travellers (and Seattleites), hip hop collaborative Shabazz Palaces.

Where much of the debut seemed informed, sonically, by 80s soul and Native Tongues’ era hip hop, this new track has more of a heavy, tripped out 70s soul/psychedelic vibe – think Sun Ra, Funkadelic, Gil Scott-Heron.  Repeated, hypnotic spoken word phrases (‘no work goes without/recognition’) over tabla and conga drums starburst into a middle third filled with spacejam synths and righteous, wailing vocals, before returning to the beginning.  A tidy, 2:30 minutes plus groove.  Looking forward to the rest of the album.

Expand your mind.  Mind power.  Power to the People.  See it.  Feel it.  Dig it.

You can download ‘Recognition and pre-order “EarthEE” on iTunes, as well as here, here, and here.  Visit Sub Pop’s page for more information on special offers, bundles, etc.

Album Review: The Juan MacLean, In a Dream

The Juan MacLean, In a Dream (DFArecords, 9/16/14)

Electronic music tends to mine its past when crafting its present.  “New” sounds tend to be an amalgamation of sounds that came before, perhaps presented in a new way or via novel platform; often mutated by what came in between.  Dreams are, similarly, a subconscious manifestation of memories of past experiences, morphed by our current reaction to an emotional and/or physical state.

The new album by The Juan MacLean is called In a Dream, and it conjures many Ghosts of Dance Music past.  As with the duo’s earlier releases – which recalled, variously, Chicago house, new wave, techno and disco – the sonic touchstones here are plentiful.  A partial list of those I noted upon repeat listening include: early Madonna and mid-80s NYC new wave/dance music in general (“You Were a Runaway”); Temperamental-era Everything But the Girl (“Here I Am”, “Charlotte”); New Order (the guitar line at the 1:16 mark of “Love Stops Here”, the glassy, Technique-sounding synths in “Here I Am”); and early new wave (the intro and boy/girl response vocals of “I’ve Waited for So Long” recalls Human League).  Several of the album’s highlights – the sublime “A Simple Design”, centerpiece “Love Stops Here”, “Running Back to You” and closer “The Sun Will Never Set On Our Love” – are satisfying combinations of these influences.

In fact, the album I kept coming back to while listening to In a Dream was Ministry’s much derided (by the band – I personally love it still) debut, With Sympathy.  A trio of Dream’s cuts, “Running”, “Design” and “Runaway” very much recall the sound and feeling of that record, with vocalist Nancy Whang often sounding a bit like Shay Jones (backing vocalist on Sympathy’s “I Wanted to Tell Her”).  “Running” takes it a step further; Sympathy synth lines welded onto a tune recalling the lush 80s R&B of labels like Tabu Records – the SOS Band meets pre-heroin Ministry!  Naturellement!

The album is no mere nostalgia trip, however – it is as timely as it is timeless; taking cues from the past to shape the present.  It is a beautiful marriage of lush, sweeping electronic wistfulness with darkly romantic lyrics, delivered by Whang (fantastic throughout) in a way that brings back the classic (somewhat detached) club diva.  The sequencing is also spot on, with opener “Space is the Place” bookended by “The Sun Will Never Set On Our Love”.  The latter – with its imperious, Vangelis(y) opening chords and titular, epic proclamation (here referring to love’s survival in the face of ecologic apocalypse, rather than empire-building) – could have been a fine centerpiece, but the ending refrain of sending love “in a rocket shape/send it out in space” provides the perfect coda to what is certainly one of this year’s best releases.

Highlights include: “Running Back to You”; “The Sun Will Never Set On Our Love”; “A Simple Design”; “Here I Am”).

New Music: Jessie Ware, Share It All

Jessie Ware recently posted the track “Share It All” – the latest to be leaked in the run up to her soon to be released full length, “Tough Love” (I haven’t been able to figure out a US date for the album).  You can listen to the track above, and it’s also streaming on her Soundcloud page.

The song was co-written with Romy of The XX, and that band’s sonic fingerprints are felt throughout – Ware’s typically pristine vocals float amidst a languid atmosphere full of sonar synths and a thick bass drum.  As it unfurls, the song glides along on a snappy beat that wouldn’t have been out of place on an old SOS Band cut.  Ware puts her own stamp on the arrangement when she begins to riff on the initial, hypnotically repetitive melody.  

It’s an interesting contrast in attitude and style.  In the hands of The XX, the lines “could you share it all with me/and I’ll share it all with you/…if you want to” might have been delivered as a whispered plea to a would-be partner who’s busy talking to another on the other side of the room – the longed for reply never truly expected.  For Ware, the lines are sung “to”, rather than “at” someone, but in a hopeful, romantic way – there’s nothing brash here (think Sade, not Beyoncé).  A lovely little ballad.